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British percussionist Paul Lytton (1947),
a member of Evan Parker's groups (1969) and of the
London Jazz Composers' Orchestra (1972),
used self-made percussion and live electronics to animate the soundscapes of
The Inclined Stick (july 1979).
The duets with drummer Paul Lovens of
Was It Me? (january 1977),
the 23-minute Moinho da Asneira (december 1978) and the 25-minute A Cerca da Bela Vista a Graca (november 1979), off Moinho da Asneira,
the 30-minute Catching (june 1980), off Fetch,
as well as their trio with Japanese trumpeter Toshinori Kondo Death is our Eternal Friend (september 1982),
reintroduced a jazz element, although in a waste land of discrete noises.
Borne On A Whim (april 1981) contains duets with guitarist Erhard Hirt.
Lytton's first quartet, with
Hans Schneider on bass, Floros Floridis on soprano and alto saxophones, Pinguin Moschner on tuba,
debuted on Adonis (october 1983).
Phil Wachsmann on violin and live electronics replaced Moschner on
Ellispontos (december 1985).
Lytton was one of the original and stable members of the King Ubu Orchestru with reed player Wolfgang Fuchs, trombonist Radu Malfatti and violinist Phil Wachsmann. The line-up for Music Is Music Is (december 1984) included guitar, cello, bass, trumpet and a second reed player. Binaurality (june 1992) instead augmented the core quartet with trombonist Guenter Christmann, Georg Katzer on computer and electronics, reed players Luc Houtkamp and Peter van Bergen, tuba player Melvyn Poore and bassist Torsten Muller. The notable addition on Trigger Zone (november 1998) was trumpeter Axel Doerner.
Lytton eventually founded a second Quartet (Wachsmann on violin and live electronics, Herb Robertson on trumpet, Dominic Duval on bass) that debuted with The Balance of Trade (may 1996).
Lytton's main collaborations at the turn of the century were
Some Other Reason (october 1997) with Wachsmann and
the double-CD English Suites (november 1999) with American reed player Ken Vandermark.
In 2000 Lytton joined Vandermark's Territory Band.
Phases of the Night (may 2007) is a trio with
Barry Guy, Paul Lytton and Marylin Crispell.
Creak Above 33 (april 2009) documents a collaboration between
percussionist Paul Lytton (also on live electronics) and trumpeter
Nate Wooley.
Asynchronous (may 2008) documents a quartet with pianist Fred Van Hove, Paul Dunmall (on tenor sax), Paul Rogers (bass) and Paul Lytton (drums).
Scenes In the House Of Music (september 2009) was recorded by a quartet with Evan Parker (tenor and soprano saxes), Peter Evans (trumpet), Barry Guy (bass) and Paul Lytton (drums).
The trio of Nate Wooley (trumpet), Christian Weber (bass) and Paul Lytton (percussion) is documented on Six Feet Under (november 2009).
Paul Lytton & Nate Wooley, with the collaboration of Ikue Mori and Ken Vandermark recorded live the double-disc The Nows (2012).
Live at Maya Recordings Festival (september 2011) captures a live improvisation by Evan Parker (soprano and tenor saxes), Barry Guy (bass) and Paul Lytton (drums).
?! (2014), Lytton's first solo album since 1979, contains electroacoustic chamber pieces for electronics, percussion, homemade percussion, laptop, and found objects
The Guy-Crispell-Lytton trio returned with their third collaboration, Deep Memory (may 2015).
The trio o f Evan Parker (sax), Barry Guy (bass) and Paul Lytton (drums) returned with the live Music For David Mossman (july 2016).
Evan Parker (soprano and tenor saxes), Barry Guy (bass) and Paul Lytton (drums and percussion) recorded the live Concert In Vilnius (october 2017).
Evan Parker (tenor sax) and Paul Lytton (drums) improvised Collective Calls (Revisited) (Jubilee) (march 2019).
Known/Unknown (january 2018) documents a collaboration between Paul Lytton (percussions) and Nate Wooley (trumpet), both also on electronics.
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